Ramirez’s plans is to have some four projects developed by May or June this year. Aside from directing episodes of “Escobar” and Netflix-Univision series “El Chapo,” Moreno also directed a 10-episode web series for France’s Canal Plus and Spain’s Movistar + , “Blanca,” toplined by Carlos Bardem, a lead in Peter Webber’s “Pickpockets” on which 64A Films provided production services.

Winner of the audience prize at the recent Cartagena Festival, Mora co-helmed all episodes of “Escobar” with Moreno, among her TV credits.

“We have been in meetings with the likes of Netflix, HBO and Amazon Prime,” said Ramirez regarding his TV plans.

Further opportunities in the Latino industry are expected from Apple which recently hired Colombian-born TV exec Angelica Guerra as its new head of Latin America programming. Guerra oversaw Sony Pictures Television’s production of original primetime series for the Latin American and U.S. Hispanic markets. Prior to her post at Sony, she was the executive vice president of content for Caracol Television.

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64-A Films is also prepping the second and third follow-ups to “Dog Eat Dog” (“Perro come Perro”), Moreno’s 2008 Sundance breakout hit.

To be directed by Moreno, both upcoming pics feature dogs or wolves in their titles. “It’s a trilogy of sorts, about losers, low-life gangsters and to some extent, all three films dwell on the general sense of impunity in Colombia where many believe that crime does pay,” Ramirez said.

The second film in the trilogy, “Lavaperros,” to be shot in 35 mm film, secured a $900,000 grant from Colombia’s Proimagenes Fund, the largest in its recent history.

Like “Dog Eat Dog,” “Lavaperros” has touches of dark humor, per Moreno, who draws inspiration from the works of Sam Peckinpah, Quentin Tarantino and the novels of Elmore Leonard and Jim Thompson. A ‘lavaperro’ is the lowest-level operative or henchman in a drug cartel.

To shoot in August, “Lavaperros” tracks three men whose dueling ambitions bring out their darkest instincts, but also reveal their humanity.

Inspired by “Buried” and Alfred Hitchcock’s “Rear Window,” the third sequel, “Lobos Perdidos” (“Lost Wolves”), starts with a car accident whereby the main character, Ulysses, finds himself lying injured in a room where he is held captive by his alleged saviors.

Antonio Saura’s Latido Films, which is managing the international sales of “Matar a Jesus,” will also be handling that of “Lavaperros” and “Lobos Perdidos.”